There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
Kehinde WileyRead
I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me.
Interpretation
The artist reflects on creating bold and unique work that he initially thought wouldn't be appreciated.
Kehinde Wiley expresses gratitude for the freedom to create art that reflects his identity and experiences, despite initial doubts about its appeal. His statement highlights the importance of bold self-expression and the unexpected acceptance of diverse narratives in the art world.
In practice
In a discussion about the importance of diverse voices in art, this quote can illustrate the power of representation.
There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.
What is portraiture? It's choice. It's the ability to position your body in the world for the world to celebrate you on your own terms.
The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming. It doesn't get any better than that.
Painting is about the world that we live in. Black men live in the world. My choice is to include them.
What I try to do is defy expectations in terms of boundaries, whether it is high or low art, pop culture, or fine-art culture. My work is about reconciling myriad cultural influences and bringing them into one picture.
Life is an illusion. I am held together in the nothingness by art.
When a person listens to a good song, and they can look out at the world and their lives and see the dark and the light, the negative and the positive, all the different elements, all come together in one holistic poem, that is a very healing and very reductive thing, and that's what my music is about.
For me, the 'Three Stoppages' was a first gesture liberating me from the past.
If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.
In a book, you can describe a scene and have any song you want playing on the radio and have any painting you want hanging on the wall. That was really freeing to me when I was writing 'Ready Player One.' I could throw in everything that I love.
I started dancing almost before I could walk.
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